Phýsis is divine and it thought by Plátohn (Plato; Gr. Πλάτων) and others to have a teleologic nature, that is, that it tends toward an elevated end. Phýsis is sometimes depicted as a Goddess, sometimes as a God. Pan (Gr. Πάν) can be thought of as Phýsis. His name means all, everything. Pan is the entire realized potential of the Primordial State, the entire realized potential of what Orphéfs (Orpheus; Gr. Ὀρφεύς) calls the Unutterable Principle.

Phýsis is also discussed extensively in the philosophies of Ællinismόs (Hellenismos; Gr. Ἑλληνισμός), being a major topic of the pre-Socratics, who are known as Physikí (Gr. Φυσικοί), the physicists.

Commentary on the Orphic hymn to Phýsis by Thomas Taylor (The Hymns of Orpheus by Thomas Taylor 1792, London England, printed for the author, pp. 126-129)

Nature, according to the theologists, as related by Proclus (ed. Próklos; Gr. Πρόκλος),
in Tim. [4A, Thomas Taylor Series vol. XV, p. 20; see below], is the last of the demiurgic causes of this sensible world, and
the boundary of the latitude of incorporeal essences: and is full of reasons
and powers, by which she governs the universe, every where connecting parts
with their wholes. Hence Nature is represented in this Hymn
as turning the still traces of her feet with a swift whirling. For since she is the last of the demiurgic
causes, her operations aptly symbolize with the traces of feet. Now the reason why the epithets of
much-mechanic, all-artist, connecting, all-wife, providence, &c. are given
to nature, which evince her agreement with Minerva (ed. Athiná/Athena; Gr. Ἀθηνᾶ), is because
that Goddess, according to the Orphic theology, fabricated the variegated veil
of nature, from that wisdom and virtue of which she is the presiding divinity. And Proclus informs us, that she connects all
the parts of the universe together: containing in herself intellectual life, by
which she illuminates the whole, and unifying powers by which she superintends
all the opposing natures of the world. Nature, therefore, from her connecting, and
unifying power, and from her plenitude of seminal reasons, has an evident
agreement with Minerva, whose divine arts according to the Orphic theology,
reduce whatever in the universe is discordant and different, into union and
consent.

Again, agreeable to this theology, primary natures impart
their gifts to such as are secondary by an abundant illumination, and effects
are established in the causes from which they proceed: so that in the obscure
language of Heraclitus, all things are one, and one all things. Hence Nature though the last of the demiurgic
causes, is with perfect conformity to this symbolical Theology, said to be both
communicable and incommunicable; without a father and at the same time the
father of her own being. For considered as full of operative reasons, she is
communicable to every sensible nature: but considered as the representative of
divine unity, she is incommunicable. And
in like manner as symbolising with the first cause, she is both without any
origin, and at the same time the source of her own essence.

Ver. 12.] Finite and infinite, &c. Philolaus (ed. Philólaos; Gr. Φιλόλαος) according to Demetrius (in
Laert. Ed. Dimítrios Phaliréfs; Gr. Δημήτριος Φαληρεύς) published a discourse concerning Nature, of which this is the beginning:

Ver. 33.] By thee the world,
&c. Since the world has an extended
and composite essence, and is on this account continually separated from
itself, it can alone be connected by a certain indivisible virtue infused from
the divine unity. Again, since from a
natural appetite, it is ever orderly moved towards good, the nature of such an
appetite and motion must originate from a divine intellect and goodness. But
since, from its material imperfection, it cannot receive the whole of divine
infinity at once, but in a manner accommodated to its temporal nature: it can
only derive it gradually and partially, as it were by drops, in a momentary
succession. So that the corporeal world
is in a continual state of flowing and formation, but never possesses real
being; and is like the image of a lofty tree seen in a rapid torrent, which has
the appearance of a tree without the reality; and which seems to endure
perpetually the same, yet is continually renewed by the continual renovation of
the stream.

from Próklos' Commentary on the Tímaios(Timæus; Gr. Τίμαιος) of Plátohn(Plato)[1]:

"Nature, therefore, is
the last of the causes which fabricate this corporeal-formed and sensible
essence. She is also the boundary of the extent of incorporeal essences, and is
full of reasons and powers through which she directs and governs mundane beings.
And she is a Goddess indeed, in consequence of being deified, but she has not
immediately the subsistence of a deity. For we call divine bodies Gods, as
being statues of Gods. But she governs the whole world by her powers,
containing the heavens indeed in the summit of herself, but ruling over
generation through the heavens; and every where weaving together partial
natures with wholes. Being however such, she proceeds from the vivific Goddess
[Rhea] [For according to the Chaldaean oracle] "Immense Nature is
suspended from the back of the Goddess;"[2] from whom all life is derived, both that
which is intellectual, and that which is inseparable from the subjects of its
government. Hence, being suspended from thence, she pervades without impediment
through, and inspires all things; so that through her, the most inanimate
beings participate of a certain soul, and such things as are corruptible,
remain perpetually in the world, being held together by the causes of forms
which she contains.

For again the Oracle
says, "Unwearied Nature rules over the worlds and works, and draws
downward, that Heaven may run an eternal course," etc.[3] So that if some one of those who assert
that there are three demiurgi, is willing to refer them to these
principles, viz. to the demiurgic intellect, to soul, and to
total nature [or to nature considered as a whole,] he will speak rightly,
through the causes which have been already enumerated.[4] But he will speak erroneously, if he
supposes that there are three other demiurgi of the universe, beyond soul. For
the Demiurgus (ed. Dimiourgόs; Gr. Δημιουργός) of wholes is one, but more partial powers, distribute his whole
fabrication into parts. We must not therefore admit such an assertion, whether
it be Amelius (ed. Amǽlios; Gr. Ἀμέλιος, 3rd century CE Neoplatonist philosopher) or Theodorus [ed. Theódohros of Asinaios; Gr. Θεόδωρος δ Ασιναίος, student of Porphyry (ed. Porphýrios; Gr. Πορφύριος)][5] who wishes to make this arrangement; but
we must be careful to remain in Platonic and Orphic hypotheses.

Moreover, those who call nature demiurgic art, if indeed they mean
the nature which abides in the Demiurgus, they do not speak rightly; but their
assertion is right, if they mean the nature which proceeds from him. For
we must conceive that art is triple, one kind subsisting in the artist, in
unproceeding union; another, proceeding indeed, but being converted to him; and
a third being that which has now proceeded from the artist, and subsists in
another thing. The art therefore, which is in the Demiurgus, abides in
him, and is himself, according to which the sensible world is denominated the
work of the artificer, and the work of the artificer of the fiery world.[6] But the intellectual soul is art indeed,
yet art which at the same time both abides and proceeds. And nature is art
which proceeds alone; on which account also it is said to be the organ of the
Gods, not destitute of life, nor alone alter-motive, but having in a certain
respect the self-motive, through the ability of energizing from itself. For the
organs of the Gods are essentialized in efficacious reasons, are vital, and
concur with the energies of the Gods.

The logo to the left is the principal symbol of this website.
It is called the CESS lThe logo to the left is the principal symbol of this website. It is called the CESS logo, i.e. the Children of the Earth and the Starry Sky. The Pætilía (Petelia, Πετηλία) and other golden tablets having this phrase (Γῆς παῖς εἰμί καὶ Οὐρανοῦ ἀστερόεντος) are the inspiration for the symbol. The image represents this idea: Earth (divisible substance) and the Sky (continuous substance) are the two kozmogonic substances. The twelve stars represent the Natural Laws, the dominions of the Olympian Gods. In front of these symbols is the seven-stringed kithára (cithara, κιθάρα), the lyre of Apóllohn (Apollo, Ἀπόλλων). It (here) represents the bond between Gods and mortals and is representative that we are the children of Orphéfs (Orpheus, Ὀρφεύς).

PLEASE NOTE: Throughout the pages of this website, you will find fascinating stories about our Gods. These narratives are known as mythology, the traditional stories of the Gods and Heroes. While these tales are great mystical vehicles containing transcendent truth, they are symbolic and should not be taken literally. A literal reading will frequently yield an erroneous result. The meaning of the myths is concealed in code. To understand them requires a key. For instance, when a God kills someone, this usually means a transformation of the soul to a higher level. Similarly, sexual union with a God is a transformation.

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